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Beréchit for bass voice with overtone singing, aussi baryton and electroaoustic live (2006), 10mn; listen Date : 2006 Duration : 10.30 mn Commission : Grame, Centre National de création musicale à Lyon. Co-commission of festival « June in Buffalo ». Nomenclature : bass voice with overtone singing, aussi baryton and electroaoustic live. Premiere : 23 march 2006, GRAME Biennale Musiques en Scène 2005 Lyon, Nouveau Théâtre du VIIIème. Soloist : Nicholas Isherwood Assistant musical : Christophe Lebreton. Venezia (26-03-06), à Turin (5-04-06), Buffalo-New York (11-06-06), Stuttgart (24-07-06), Standford University (06-03-07) Text In Hebrew language, excerpts from Genesis, In the beginning I, 1-5. Notice: "This text will play the legendary, the poem whose we are made." It is the beginning of the creation of the world and it is the light that is first created, the first day, "Yom ehad ... Day One." It is by listening to the text recited that I immersed myself in the musical power of the Hebrew language and I tried with this new work, to hear the resonant harmonics of words. The vocal material of the ancient synagogue chant develops throughout this play "Beréchit" its own echoes, according to the method of overtone singing. The soloist cantor then uses the oral cavity as variable volume sounding vowels as he pronounced [u o e a], which enables it to select the harmonics of the fundamental. Musical metaphor of the Hebrew language which is originally consonant as it is written in the sacred text, then vocalized soon as it was spoken / revealed. Résidence : This piece is written during my residence at Grame, Lyon. Electroacoustic setup - Assistant musical : Christophe Lebreton. - Electroacoustic live /granular synthesis virtual choir (PSOLA) and formantic spectral calculations. Système MaxMSP-Ircam - Voice Amplification. - It is expected the spread of electroacoustic sound material of 8 speakers placed in a circle around the soloist and the public. - It is advisable to play the part in a reverberant space, or, failing that, to simulate the reverberation of the concert space. List for electroacoustic setup for the real time -1 Mac g4 > 1.3 Ghz avec au moins 512 Mo de Ram -1 carte Audio (Motu 828 ou FireFace) avec 8 sorties) - 1 interface Midi 1 in - 1 pédale de sustain - 1 convertisseur : pédale sustain vers MIDI - 1 microphone sur pied type M 184 - 1 microphone HF sur tête capsule type MKE2 - 1 table de mixage - 8 HP, diffusion en octophonie, voir plan Florence Baschet |
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